The Piano

Jane Campion, Australia/New Zealand/France, 1993, 121 minutes

Ada McGrath (Holly Hunter) is a mute young Scottish widow, sold into marriage by her father to plantation owner Alistair Stewart (Sam Neill.) Arriving in New Zealand with her young daughter Flora (Anna Paquin), she is devasted when her new husband immediately sells her beloved piano to neighbour Baines (Harvey Keitel, complete with suitably funky Maori tattoos) rather than carry it up the cliffs to her new home. Ada offers to give Baines piano lessons in exchange for the eventual return of her piano. However Baines swiftly demands lessons of quite another kind…

Sounds a bit kinky? Don’t be (too) alarmed. Although Jane Campion’s historical drama contains several extremely erotic scenes, there is nothing gratuitous about them and they certainly aren’t plot fillers added as a bit of light relief. Complex, indeed disturbing, issues are raised in this film. The tragic themes of forbidden love and issues of power (is Ada a woman taking control of her life or is she merely being victimised throughout the film?) are perhaps not especially new or original, however they are dealt with sensitively and fit with the general mood of the piece. ‘The Piano’ isn’t everyone’s cup of tea – it’s easy to watch and pick at as being a tad too pretentious. Perhaps it is. I myself am inclined to see it is as a much more ‘conventional’ sort of film as opposed to other fans who rave on about its profundities.

However there are several reasons that with ‘The Piano’ Jane Campion became the first female director to win the Palme d’Or Prize at Cannes. Holly Hunter delivers an exquisite performance, made all the more remarkable by not uttering a single word throughout the movie (coincidentally, trivia fans, she also played all the piano pieces in the film too.) Anna Paquin’s mischievous and meddling Flora forced me to re-evaluate my usual prejudice against child actors. Both fully deserved the Oscars they won for their roles. Other delights include Michael Nyman’s famous, romantic score and Stuart Dryburgh’s lush cinematography. Combine all this together and you have a haunting and memorable cinema experience.

Review by Flippanta Kulakiewicz
Written for EUFS Programme Spring 2008

Unlike her last film, The (fairly dull) Portrait of A Lady, Jane Campion's The Piano excels itself. It explores freely the limits of sensuality within a restrictive environment and society, against the magnificent, wild New Zealand scenery Campion uses as a backdrop. The Australian director, previously known for films which take a sharp, yet almost throwaway look at modern life, makes a radical change of direction here.

Arriving in nineteenth century New Zealand with her two prize possessions, her daughter and her piano, Ada (Holly Hunter) finds herself trapped into a restrictive arranged marriage with landowner Sam McNeill who leaves her beloved piano, on arrival, at the beach. However, mysterious neighbour (Harvey Keitel) rescues it and promises it`s return, key by key, if she plays it for him.

On the New Zealand landscape Campion has superimposed a disturbing, claustrophobic but sensual web of emotions revolving around the three main characters. Anna Paquin (the astoundingly young Oscar winner), plays Ada's daughter, acts as the catalyst for the devastating conclusion.

The most memorable aspect of this film however, is Michael Nyman's breathtaking score performed by Holly Hunter herself. It expresses the mood of the film and it is fair to say that the film shapes itself round the music, fitting for a film with a title like The Piano. It is not so overly complex that it overwhelms the characters though, there is a rawness about it which lends to its authenticity.

Add to the soundtrack the multiple Oscars and critical praise and you have a film which, in spite of a nude Harvey Keitel, never fails to take your breath away.

Review by Neil Chue Hong
Taken from EUFS Programme 1997-98

Ada (Holly Hunter), with her two prize possessions, her daughter and her piano, arrives to an arranged marriage in the remote bush of nineteenth century New Zealand. Of all her belongings, her husband refuses to transport the piano from the beach. An illiterate tattooed neighbour has the piano transported to his own home in exchange for a piece of land that Ada's husband wants. He then strikes a bargain with her as he is slowly falling in love. She may earn her piano back if she allows him to do certain things while she plays; one black key for every visit.

Harvey Keitel plays an illiterate Scotsman turned Maori. He gives an exceptional and convincing performance as a man caught on a woman he can't have but trying to find a way to be with her; basically, he's lovesick But the passion Ada unearths in herself exists for any man brave enough to look for it.

This is a very sensual film - partly to do with the muteness of the central character. Much of the story is visual, and as the book-of-the-film went to show, it can't be well translated into text, just as some books defy translation into film. Much of the beauty of this film comes from the amazing New Zealand countryside twinned with heavy use of a blue filter and a now famous soundtrack by Michael Nyman.

Review by Julia Monelle
Taken from EUFS Programme 1994-95